jonatan leandoer96

Many music artists create alter-egos or aliases in order to put out a different style of music than what they are generally associated with. Bowie’s Ziggy Stardust and Eminem’s Slim Shady are all examples of alter-egos which have marked a deep impact in popular culture due to the narrative they bring to the musical direction of their artists. In fact, this attention, or even obsession, with the narrative tradition in the musical medium, seems to be the predominant attitude towards alter-egos in the mainstream. This is why it is so refreshing to see an alter-ego which separates itself from the barrier of popular status in preference for an in-depth exploration of a personal tradition towards music and the alter-ego. 

As a matter of fact, jonatan leandoer96 cannot be considered an alter-ego at all. It is the side project of Swedish rapper Yung Lean (born Jonatan Leandoer Håstad in 1996). To shed the stage name, and to identify oneself with one’s credentials. As such, jonatan leandoer96 strays himself away from Yung Lean, from the genre of cloud rap which is notoriously mired in alienation (which, incidentally, Yung Lean helped pioneer), for an independent and neofolk approach to music. Trap drums influenced by Chief Keef and Three 6 Mafia are substituted for acoustic drumming. And he sings, without filters, without Autotune. The effect is jarring, vocal melodies not always in harmony with the instrumental, often composed of few live instruments, repeating in a simple but deeply haunting pattern.  

“On the Road” by Jack Kerouac seems to have been an influence on jonatan leandoer96’s debut project: psychopath ballads. Not only because there is a song named after the road novel, but the entire project seems to have a focus on the act of movement, specifically of travel, or the inability to do so. The reverb in his voice is at a maximum, and instrumentals are sparse: all of this to suggest a space not encapsulated by the confines of the song itself.  

The fascination with what is considered “neofolk” begins with psychopath ballads. Neofolk in the sense that it is a contemporary reimagination of folk traditions, specifically in a Scandinavian manner: classical instruments like violins and pianos manipulated to convey as much emotion as Irish bagpipes do with their uninterrupted variations in melody. There is much dissonance, but this brings with it the feeling of a style of music manufactured by human hands: a process of creation within the music itself.  

Subsequent works are generally more polished, more harmonic, more orderly. psychopath ballads, and to an extent, jonatan leandoer96 itself was created in response to his own overdose in 2015, which also caused his friend and manager’s death. Thus, everything after psychopath ballads is rejuvenation rather than rehabilitation. Nectar, released in 2019, expands on jonatan leandoer96’s own innovation of folk music and incorporates themes such as love and political dissatisfaction. It doesn’t appear that jonatan leandoer96 is preoccupied with singing about anything in particular. If anything, it is the suggestion of these themes in complement to the music which catalyzes all of the emotion. This can also be seen in the music: a focus in the texture of guitar strums and songs which have no beginning and no end. Triplet rhythms repeating like a lullaby for 4 minutes. Trying to come to terms with oneself: baritone reflections of tragic irony, “I’m happy”. Blodhundar & Lullabies (2020) is one step further to this reflection. The theme of space and confinement returns, the reverb is suffocating, especially potent during the pandemic. Songs are not full-fledged, just vocals on a completed instrumental. It is the fixation of representing ideas as precisely that, ideas. Always culture, culture, culture, the world seen through jonatan leandoer96’s eyes. 

And in 2023, Sugar World. Reinvention as popstar. Featuring production by Frederik Valentin, the music is structured, and there seems to be a persona. What is curious is that the analysis of the mainstream tradition is immediately clear: this is no mere snippet of pop rock drum patterns, but rather an appropriation for personal ends. It is the imbuing of identity to the pop form. Maybe also the acceptance of an always unique approach to music production of jonatan leandoer96 as side project. Or maybe the acknowledgment of the inherent difference between Yung Lean and jonatan leandoer96. Its status as side project allows him to explore different avenues of expression all by himself, liberated from the constraint of Yung Lean and everything Yung Lean stands for. This is why the music is sincere, made for the sake of himself and not the expectations of the audience. In sum, finding freedom on another path.